Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 59,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 5 hours ago).
"Paramore have properly grown up and flourished with After Laughter; it's thoroughly well developed, brilliantly well made and have numerous great songs on it. The neo-New Wave sound is absolutely stellar; you can pick out the hints of bands like Blondie and The Cars all over the place, but its fr...""Paramore have properly grown up and flourished with After Laughter; it's thoroughly well developed, brilliantly well made and have numerous great songs on it.
The neo-New Wave sound is absolutely stellar; you can pick out the hints of bands like Blondie and The Cars all over the place, but its freshened up with modern production and classic Paramore instrumentation.
The songs themselves are well written, fun and snappy. Hayley Williams' voice is, once again, the centre of attention, and you can't deny how good she sounds. She really carries the album if anything, though she's certainly conveyed with the help of the tight drum work of Zac Farro (especially on Hard Times and Rose Coloured Boy) and the solid guitar melodies that fill in the rest of the blanks.
It's fairly consistent, though there's no denying that most of the quality is towards the start of the album. Still, they make room to expand their style with slower paced tracks like Fake Happy and Idle Worship. None of it is particularly stand out, but it's all very nice to listen to, and there certainly isn't a bad track on here.
The result then is something delivers far more than any other Paramore album, particular the lead single Hard Times. The rest of the album plays well and doesn't disappoint, and if the band continue with this sound, I will certainly be back for more. If this is what new-wave revival sounds like, sign me right up."[+]Reply
"Well, the first (and my favorite) great quintet. Coltrane like hard learner of freedom in harmonies. Chambers, Garland and Joe Jones, the best rhythm section of history of jazz. Davis lyrical, masterful. What can I say?"Reply
"Defining album (Along with Rumours) of its time. Hard to explain to those who weren't around, but this was one of those "must have" records. Still dig it - especially the last track."Reply
"They're so depressing, going 'round and 'round Ooh, they make me dizzy, oh fast cars they run me down (Fast Cars) And I don’t like french kissing because you swallow my tongue (Sixteen) Revenge of The Nerds! We all know that punk rock changed everything. Now, all you had to learn was three measly...""They're so depressing, going 'round and 'round
Ooh, they make me dizzy, oh fast cars they run me down (Fast Cars)
And I don’t like french kissing
because you swallow my tongue (Sixteen)
Revenge of The Nerds! We all know that punk rock changed everything. Now, all you had to learn was three measly chords & you were golden. The groupies, the drugs and all the rest of that hedonistic alpha-male rockstar lifestyle was all yours! But… What if even the thought of a girl made you want reach for the nearest asthma inhaler? And the idea of driving drunk with a bottle of Jack in a "fast car" sounded not only dumb but filled with images of bodily injury & your disappointed mother. Well you're in luck! Because Punk rock not only changed WHAT was required to play rock but WHO could play rock. And no band was as vital for this seismic shift as the Buzzcocks.
Forget everything you’ve heard. Another Music in a Different Kitchen is not only the best Buzzcocks album, but also THE best place to really experience them in all their socially awkward, anxiety-riddled glory. AMIADK doesn’t simply flow. It’s propelled! Building a palpable tension that climaxes with the brilliant couplet of Fiction Romance and Autonomy. In comparison, Singles Going Steady suffers from the inherent deficiency of all singles compilations - it’s a greatest hits album. And is thus not only devoid of all the idiosyncratic detours and charms of AMIADK, it defuses most of the claustrophobic tension. And tension is what the Buzzcocks are all about.
PS: Contains Morrissey’s (& mine) favorite punk rock song of all time - Fiction Romance. Morrissey would soon after make an entire career out of this concept."[+]Reply
"At last, a deluxe edition, which basically makes this version obsolete, is finally available. Both nights at the Lyceum in London are now featured on an excellent release. The gigs are fairly short (first night, 60 mins, second night, 70 mins) but that's just a small quibble. What matters is that...""At last, a deluxe edition, which basically makes this version obsolete, is finally available. Both nights at the Lyceum in London are now featured on an excellent release. The gigs are fairly short (first night, 60 mins, second night, 70 mins) but that's just a small quibble. What matters is that a previously great live album has now become an undisputed masterpiece and an essential release for any music fan. Absolutely brilliant. "[+]Reply
"The best album that George made throughout his entire discography. An album that shows a pop star from the 80's show a sense of maturity and having honesty through a hardship that never went away until his unfortunate death. This album has aged pretty well with the production having a twilight an...""The best album that George made throughout his entire discography. An album that shows a pop star from the 80's show a sense of maturity and having honesty through a hardship that never went away until his unfortunate death. This album has aged pretty well with the production having a twilight and opulent quality and the instrumentation that runs through jazz, funk, soul and down tempo. Best songs from this album are Older, Spinning the Wheel, It Doesn't Really Matter, Move On and You Have Been Loved. "[+]Reply
"When I purchased a copy of this album, I was a junior high kid, and it was not an easy album to understand. I could only buy one album a month back then (naturally), so I would listen to the album every day, and I could gradually digest the beauty (and aggressive nature) of the album over time. A...""When I purchased a copy of this album, I was a junior high kid, and it was not an easy album to understand. I could only buy one album a month back then (naturally), so I would listen to the album every day, and I could gradually digest the beauty (and aggressive nature) of the album over time.
As the band called it quit in 1974, I thought I would never see the band again, and this was true with this formation at least. For a young boy in Japan, it was beyond imagination that 30 years later, the boy would meet all the four members of the band (though in separate interview opportunities.) So, to me, this album is a very special one.
Musically speaking, as Jamie Muir had left the band (who, the recent Larks' Tongues box set revealed, was the first member of the new formation and the key to the jazz/improvisation aspect of the band), the other members were forced to fill the role Jamie had played: spontaneities. For this reason, the album is fundamentally "live." The most structured track on this album is paradoxically Fracture, which is based on the persistent riffs and highly technical (and mathematical) guitar work by Robert Fripp. You can also find "funk" elements under the influence of Herbie Hancock or even Miles. It is not a perfect album, but well conveys the spirit of '73 when the music was still more or less free from commercialism. "[+]Reply
"In 1975, the musicians had already recorded two records, "High Voltage" and "T.N.T.", but they were popular only in Australia and New Zealand, and the rest of the world was not covered by the capabilities of the Australian record company Albert Productions, which released these discs. But it turn..."" In 1975, the musicians had already recorded two records, "High Voltage" and "T.N.T.", but they were popular only in Australia and New Zealand, and the rest of the world was not covered by the capabilities of the Australian record company Albert Productions, which released these discs.
But it turned out that someone was still watching the Australian music market, and in early 1976, a major American, but rather international, label Atlantic Records deigned to offer its services to the coolest Australian rock band. He signed a contract with AC/DC, which, in addition to releasing records in very large numbers, allowed the band to tour all over the world.
It is clear that this was a breakthrough on the world music scene, followed by a visit to the rock Olympus, and the AC/DC musicians rushed to urgently record their new album for Atlantic. We only managed to record a couple of songs, but the new benefactors hurried us – there was no time to work on recording, they say, the album was urgently needed. And since there is no finished album, we will release a collection, since there are plenty of songs for it.
That's how the "international" version of "High Voltage" appeared, they didn't even come up with a new name for it, but simply took the latest "Australian" album of the band "T.N.T.", threw out a couple of songs from it, replacing them with two tracks from the first version of "High Voltage". That's how AC/DC's "first international album" turned out, which is included in the main discography not as a compilation, but as a full-fledged LP. And for a very long time, almost the whole world did not even suspect the real state of affairs, since information for music lovers began to appear only in the CD era, when the two "firstborn" bands began to spread around the world on a new type of media, first pirated, and then officially."[+]Reply